The Gum Thief - Douglas Coupland [1]
I draw the line at sea monkeys. I draw lines everywhere. It’s what makes people think I’m Mister Difficult. For example, people in the ATM machine lineup who stand too far away from the dispenser forfeit their right to be next in line. You know the people I mean—the ones who stay fifty feet away so they don’t look like they’re trying to see your PIN number. Come on. I look at these people, and I think, Man, you must feel truly guilty about something to make you broadcast your sense of guilt to the world with your freakish lineup philosophy. And so I simply stand in front of them and go next. That teaches them.
What else? I also believe that if someone comes up behind you on the freeway and flashes their lights to get you to move into the slow lane, they deserve whatever punishment you dole out to them. I promptly slow down and drive at the same speed as the car beside me so that I can punish Speed Racer for his impertinence.
Actually, it’s not the impertinence I’m punishing him for, it’s that he let other people know what he wanted.
Speed Racer, my friend, never ever let people know what you want. Because if you do, you might as well send them engraved invitations saying, “Hi, this is what I want you to prevent me from ever having.”
Bitter.
I am not bitter.
And even if I was, at least if you’re bitter you know where you stand.
Okay, that last sentence came out wrong. Let me rephrase it:
At least if you’re bitter, you know that you’re like everybody else.
Strike that last effort, too. How about: At least if you’re bitter, you know that you’re a part of the family of man. You know that you’re not so hot, but you also know that your experience is universal. “Universal” is such a great word. You know that we live in a world of bitter cranks—a world of aging bitter cranks who failed and who are always thirty-two in their own heads.
Failures.
But bitterness doesn’t always mean failure. Most rich people I’ve met are bitter too. So, as I say, it’s universal.
Rejoice!
I was once young and fresh and dumb, and I was going to write a novel. It was going to be called Glove Pond. What a name— Glove Pond. I don’t remember the inspiration, but the words have always sounded to me like the title of a novel or movie from England—like Under Milk Wood, by Dylan Thomas—or a play written by someone like Tennessee Williams. Glove Pond was to be populated with characters like Elizabeth Taylor and Richard Burton, movie stars from two generations ago, with killer drinking problems, teeter-tottering sexuality and soft, unsculpted bodies—from back before audiences figured out that muscle tone, not a press release, determines sexiness. Glove Pond’s main characters screamed and brawled and shrieked witty, catty, vicious things at each other. They drank like fish, screwed like minks and then caught each other in the act of screwing strangers like minks. At that point, they’d say even wittier things than before. They were wit machines. In the end, all the characters were crazy and humanity was doomed. The End.
I just googled “Glove Pond” and here’s what I got:
www.amateurmicroscopy.net. . . Index to Articles
. . . Part 1: Introduction and Webcam Modifications. If ever a subject and a method of recording that subject fit together like a hand in a glove, pond “micro-critters” and videomicrography are